Portrait painting has, in modern times, been suffered to lose much of its dignity, by a loose and negligent prac tice, with a grievous want of finishing in the accessaries and subordinate parts. There is no reason why portrait should be less carefully painted than history. In its na ture it is the same, and therefore demands the same re quisites ; nor is perfection to be attained, but by the very same qualities which constitute the perfection of an histo rical painter. All the difference consists in this, that the one requires the accurate study of individual character, and the other the general character of mankind, and the expression of particular sentiments and passions in indi viduals. It is a false view of the nature and dignity of this branch of the art, to suppose that it permits of that care less execution which constitutes the great defect of modern portrait painters, who paint for money, and not for fame. Unfortunately for the credit of the art, the gain to he ac quired by the most indifferent performers has occasioned the profession to swarm with the vilest daubers,who bring ridicule upon the art they are incapable of reaching. Much study and knowledge of human character are required, with correct taste, and dexterity in the practice of the art ; so that the numhzir of great portrait painters are as rare in the history of the art, as they are in the highest branch of painting.
There are peculiarities in the habits and expression of every individual, which require the nicest discernment to seize, and the greatest address to discover whether they arise from any casual motive, or are really natural and ha bitual to the individual The painter must be able to draw aside the curtain of restraint, and sometimes of affectation, in which sitting for one's picture not unfrequently veils the individual. The peculiar manner of carrying the head has much influence on the resemblance. We would know our acquaintance although the countenance were hid : even the hat seems so far to partake of the influence of resem blance, as to be discernible to an acquaintance. We recog nise a friend at a great distance by his mode of walking, the motion of his arms, but particularly the position of the head. All these peculiarities require the most acute ob servation on the part of a portrait painter, though do we find their examination extended beyond the mere form of the features.
He must know, moreover, how to harmonise all those nice circumstances of character, so as not to join a haugh ty cast of countenance to a humble gesture, or a timid position of the head ; for in nature the character is legibly diffused over every limb. Nothing is more likely to create mannerism than that usual practice of portrait painters, in subjecting their patients to the same constrain ed position of some elevated throne, where their natural gesture and demeanour must be kept down, where they cannot for a moment forget that they are under operation ; screwed by the painter into some attitude quite at variance with their usual habits, they become strangers to them selves, and, as such, must feel and appear awkward ; which the effort to retain the posture, and the whole irksomeness of the thing, cannot hut tend to augment.
Besides that every individual is subjected to this par ticular ordeal, the light is always the same, infallibly inducing a sameness of manner ; but the same light is quite unsuitable to all countenances. Some are destroyed by a strong shade, others require it ; a high confined light, which is the one generally adopted, although it gives a striking contrast of light and shade, still communicates a seriousness often unsuitable to the expression. We are frequently struck with the effects of various lights upon the countenances of those persons we are in the constant habit of seeing, in changing the character, and making them unlike themselves. Great judgment is therefore necessary in choosing that light which best develops the characteristic expression.
In the generality of portraits, nothing is more diserni ble than that ceremoniousair of constraint which we never observe in the works of Titian or Vandyck ; where simple unaffected nature, the easy air and familiar gesture of the individual, shows a seeming 'unconsciousness of sitting to be painted.
As to effect, repose is the great object aimed at in por trait painting; therefore great caution ought to be observ ed in introducing any of those accidental or extraordinary effects, which tend to disturb it. Rembrandt's vivid pen cil of light, shot through the dungeon darkness in which he generally places his portraits, is striking and often beautiful ; but so unfrequent in nature, as not to be ventur ed upon but with the greatest caution.
The taste of a portrait painter is in nothing more con spicuous than in the judicious selection of his point of view, so as to obtain the most favourable and character istic aspect, which is seldom exactly the same in any two individuals. This is the legitimate mode of embel lishment, which keeps faith with nature, by preserving the resemblance, and that under the most favourable circum stances.
From the time of Charles the First, portrait painting continued almost exclusively to occupy the attention of English artists, whose names or works we think it unne cessary to enumerate here, and willingly hasten to select for our theme the greatest name in the republic of British artists,—that of Reynolds, who is usually styled the found er of the English school ; but the fact is, that he did not found any individual school of art ; being gifted with a superior taste to what existed at that time in his own country, he had the merit of introducing more enlarged views, and a more judicious cultivation of the arts.